The House Lights

The house lights.

AEG Global Partnerships. Ten thousand nights a year. Every one of them gets the film.

MOVE ACROSS THE RIBBON · THE HOUSE LIGHTS FOLLOW THE CURSOR

Sold by morning.
Gone by midnight.

More than ten thousand events a year, across more than a hundred and thirty-five houses, for more than a thousand partners. Every one of them is a moment somebody paid for, and every one of them is over by the time the film that should carry it gets briefed. The night is the product. The film arrives after the night.

This page is one engine that knows every AEG house, every mark, and every note it has ever been given, making the film before the night, during it, and after it, at event speed.

YOUR OWN NUMBERS · AEGWORLDWIDE.COM, GLOBAL PARTNERSHIPS · AEGGP.COM

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10,000+events activated and sold a year

135+houses across sports, music, facilities, media

1,000+brand partners

Three numbers from your own page, and one that is not on it: the number of those nights that got a film of their own. Set it below.

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The night board.

Every dot is a night. The lit ones got a film. Set the dials to your own numbers and watch the board fill.

NIGHTS A YEAR 10,000

NIGHTS THAT GET A FILM TODAY 40

AT 10,000 NIGHTS · 40 FILMED · 9,960 NIGHTS WITH NO FILM · ONE ENGINE MAKES THE BOARD READ 10,000

THE SECOND DIAL IS YOURS TO SET · NOTHING ON THIS BOARD IS A CLAIM ABOUT AEG, ONLY ABOUT THE GAP

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Say the change.

Any word, any frame, any film on this page: point at it, say the change in plain words, and the house repaints it. The link never changes. Every note is kept. Every version stays on the record.

MOVE ACROSS THE BOWL · LEFT IS THE WORK LIGHT, RIGHT IS THE FULL HOUSE

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The house remembers.

The arena · two in the morning. Ray has mopped up the last of twenty years of nights, and tonight the building will not let the night end. The ribbons light by themselves, every seat glows, and every night the house has ever held comes back at once. He sits down in the front row and the house plays him one more encore.

PRESS PLAY. THE HOUSE PLAYS FIRST.

THE HOUSE REMEMBERS · THE ARENA · :30 · EVERY NIGHT STAYS

The empty arena at two in the morning — **THE FLOOR** · one machine, work lights

The custodian's cart — **THE CART** · keys, thermos, the bucket

The arena awake, every seat lit — **THE HOUSE AWAKE** · ten thousand seats lit

The ribbon board writing AEG — **THE RIBBON** · the house says its name

Why it works. The largest live company on earth sells the most perishable thing there is. This film gives the house a memory, and the mark is the last light left on.

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The aria.

LA Kings · a stoppage in the second period. Dario has sold hot dogs on the aisle steps for eleven seasons and never been heard. The bowl falls silent for an injury, and into that silence he sings. Row by row the house turns, stands, and joins his last note. A kid two rows down says the only review that matters.

PRESS PLAY. THE SOUND IS THE FILM.

THE ARIA · LA KINGS · :30 · LONG LIVE THE NIGHT

The full bowl at game lighting, the crest in the ice — **THE BOWL** · eighteen thousand, one breath

The vendor's tray on the aisle steps — **THE TRAY** · section 114

The Kings crest on the scoreboard cube — **THE CROWN** · the cube, silver on black

Why it works. A full house is the one thing a screen cannot fake. The film puts the whole bowl inside one voice, and the crest is where the light lands when it is over.

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Sand.

Coachella · Friday to Sunday. The whole weekend drawn and erased in sand on a lightbox by two hands. Nell arrives alone with one wristband. By Saturday night a crowd has been drawn around her. On Sunday the hand sweeps everything away except a line of figures holding hands, and writes the name in the sand.

PRESS PLAY. THE HANDS DO THE CUTTING.

SAND · COACHELLA · :30 · WHAT VANISHES IS WHAT STAYS

The festival field drawn in sand — **FRIDAY** · the field, drawn

The sand crowd at night — **SATURDAY NIGHT** · the crowd, cleared out of the dark

Coachella written in sand — **SUNDAY** · the name, before the wind

Why it works. The festival is made of a desert and three days. A film made of sand is the festival's own material telling its own truth: it goes, and it stays with you.

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The planetarium.

LA Galaxy · a night match. Ines is eight, on her father's shoulders, and a planetarium voice explains the stadium as a solar system: the pitch a lit disc, the crowd a galaxy, the ball a comet. The comet crosses the disc into the net and the galaxy stands up at once. She learns the one thing the voice never says.

PRESS PLAY. THE VOICE BEGINS.

THE PLANETARIUM · LA GALAXY · :30 · THIS IS OUR GALAXY

The stadium at night as a sky — **THE SKY** · the stadium from the upper corner

The ball on the grass with a comet tail — **THE COMET** · the ball, waiting

The Galaxy crest made of the crowd's lights — **THE CREST** · written in the crowd's light

Why it works. The team's name is the film's whole grammar. Awe explained is awe doubled, and the crest arrives as the thing the crowd was all along.

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The count.

Five houses · one night. A man in a grey suit and a hi-vis vest has been sent to count the moments. The O2 at dusk, the arena at the horn, the field at the drop, the stands at the goal. He refuses every beer and every chorus, clicking. At 9,999 a kid's goal makes it ten thousand, the counter jams, and he looks up, and for the first time we see his face.

PRESS PLAY. COUNT WITH HIM.

THE COUNT · AEG GLOBAL PARTNERSHIPS · :30 · TEN THOUSAND NIGHTS. ON THE RECORD.

The dome at dusk with the auditor — **THE DOME** · moment 4,112, verified

The auditor at the rail during a goal celebration — **THE HORN** · the one man not cheering

The auditor in the festival crowd at the drop — **THE DROP** · the desert exhales

The counter reading ten thousand with the AEG mark engraved — **THE RECORD** · 10,000, engraved

Why it works. Proving the value of a moment is the hardest job in the building. This film makes the measurer the hero, and the mark lives on the instrument.

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Every moment counted.
Every film on the record.

Every film on this page carries its boards, its lines, and every version it has ever been. Point at a word and the word changes. Point at a frame and the frame is redrawn, in the film, on the link you already sent. The house keeps every note a partner has ever given it, so the second brief starts where the first one ended.

One partner, one night, one film, on the record by morning. Then the next house.

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Set the line.

Slide to the number of nights a month that get the film: what comes out, what it costs the slow way, what we propose, and the fee. The line prices itself.

NIGHTS A MONTH THAT GET THE FILM 20

OUT20 NIGHTS A MONTH · 20 FINISHED :30S · 160 PIECES ACROSS THE HOUSE · 240 NIGHTS A YEAR

THE SLOW WAY20 FILMS AT $25K = $500K A MONTH · $6M A YEAR

WE PROPOSEA SEASON · A STANDING LINE ON THE HOUSES YOU CHOOSE, EVERY PARTNER MOMENT MADE AHEAD OF THE CALENDAR, ON ONE LINK

THE FEE$45K A MONTH, ALL IN, FROM $35K · $2,250 A NIGHT · $455K A MONTH KEPT · $540K A YEAR AGAINST $6M

EIGHT PIECES A NIGHT: THE :30, THE :15, THE :06, THE VERTICAL, THE STILLS, THE RIBBON, THE MARQUEE, THE CUBE · THE SLOW WAY IS PRICED AT A FLOOR, $25K PER FINISHED FILM WITH ITS CUTDOWNS, BELOW A ONE-DAY SHOOT AND ITS POST IN LOS ANGELES

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Three ways in.

A night

$95K

A SPRINT · FROM $45K · NINETY DAYS

One house, one partner, the nights on your calendar, and ninety days of the line running up to them: the film, its cutdowns, every screen in the house, live before the doors open. Any review that misses your bar, stop paying.

A season

$45K

A MONTH, ALL IN · FROM $35K · A STANDING LINE

A standing line on the houses you choose: every home night, every partner moment, every market, twenty or more finished originals a month, made ahead of the calendar and kept on one link. Unlimited takes, every frontier model, no meters. Your calendar, your gate, your reviews.

The portfolio

Scoped

WITH YOUR TEAM · EVERY HOUSE

Every house in one engine. The marks, the venues and the notes of a hundred and thirty-five properties, so any partner's film starts from the whole record. One gate, one archive that learns from every night.

ALL IN MEANS ALL IN · THE TAKES, THE MODELS, THE REVIEWS AND THE LINK · NO METERS

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Every night gets the film.

RitualAds is a creative studio for brand film: from a single line of brief we build the whole campaign world, concepts, boards and finished moving pictures, made end to end under one roof. A full engagement delivers the finished :30 and :15 suite for every night, the stills, the cutdowns for every screen in the house, and one working link that never changes.

The next step is one brief: the house, the partner, the night.

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